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11 minutes ago, Tango Dancer said:

it reminds me of the first ever opera I saw as a teenager.  It was Magic Flute done by Opera North.  Tamino had a really bad cold so he couldn't sing.  They'd found a tenor from ENO but he didn't know the staging so the chap with the cold walked through the opera (sneezing a couple of times) and the ENO tenor stood in the orchestra pit and did the singing.  As a teenager I thought it was amazingly cool having the voice coming from a different place from the action.  I think that's been my favourite opera ever since. 

 

One voiceless singer acting & another singing from the pit/wings seems to be a surprisingly common occurance for opera. I've seen it at least half a dozen times, including a couple of times at the ROH. I've also seen an ASM have to do the acting because the scheduled singer was too ill even to walk the role. Of course it's not something that can be done for ballets!

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Very sad that my long planned trip to see Onegin has been subject to the cast changes. It is not what I booked for so I returned the ticket. 

 

Hope it's a great performance for everyone. 

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Just now, Dawnstar said:

 

One voiceless singer acting & another singing from the pit/wings seems to be a surprisingly common occurance for opera. I've seen it at least half a dozen times, including a couple of times at the ROH. I've also seen an ASM have to do the acting because the scheduled singer was too ill even to walk the role. Of course it's not something that can be done for ballets!

 

Watching the ASM doing the acting must be interesting to say the least.  Were they any good in the role?  I thought it was a really impressive solution when I saw the phenomenon in my first opera and it's what hooked me on the opera ever since. 

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30 minutes ago, Shade said:

Very sad that my long planned trip to see Onegin has been subject to the cast changes. It is not what I booked for so I returned the ticket. 

 

Hope it's a great performance for everyone. 

Well, that’s a shame. You might have enjoyed it had you chosen to go. 

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36 minutes ago, Tango Dancer said:

Watching the ASM doing the acting must be interesting to say the least.  Were they any good in the role?  I thought it was a really impressive solution when I saw the phenomenon in my first opera and it's what hooked me on the opera ever since. 

 

It was actually 2 roles on consecutive nights! She was very good. I imagine she must have been to drama school & had acting training before going in for backstage work. The only slight problem was she was quite petite, one of the roles was a trouser role, & she was playing opposite a singer in the female role who was about half a head taller!

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52 minutes ago, RobR said:

Well, that’s a shame. You might have enjoyed it had you chosen to go. 

I may have done, but you pays your money and take your choice as they say.

 

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Wow....how wonderful was that...?!  All five of the main cast were simply superb tonight.  

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Remember the time when Jonny Cope had to step into Month in the Country in Cuba, years after he'd retired?

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22 minutes ago, Sim said:

Wow....how wonderful was that...?!  All five of the main cast were simply superb tonight.  


i thought so too

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The curtain calls were so emotional I almost thought ‘love is in the air’  but wonderful performances from all tonight am totally whacked out! 

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I've rotated prs59's photos for ease of viewing:

0C3B194A-7E5D-4802-9A98-B5F6CF10AEA4.jpeg.dd5670d8d7cf29a2693b11c66de5d67e.jpg.e4d517793fe6a276a41f33edfcc3818a.jpg

 

 

DB6943C6-66B0-410B-90DD-034684B465A0.jpeg.ae9b772f5a61e2297ebc993fc87e8cd3.jpg.b46bd1fb1e4e1f9e4103459be71f1bce.jpg

 

Thanks for sharing your photographs prs59.

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A second very intense and moving performance from Nunez in this demanding role in one week- I am very impressed! and it was great to see her rapport with Bolle.  An excellent performance from all concerned and much applause and cheering from a happy audience- drained, but happy I should say..

That curtain call was a memorable one.

Ball and Hayward were perfect- lived up to all the good reviews on this thread and some.

And I must mention Gary Avis's wonderfully deep and subtle performance.

 

 

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On 10/02/2020 at 09:29, Angela said:

In Pushkin's stanza XLVI, by the way, we also find Tatyana's words how unhappy she is as a princess in St. Petersburg.

 

Last night I saw Onegin - at least this is what it looked like to me - performing a card trick to Olga and Lensky during the family ball at the beginning of Act 2. I never noticed this before (my eyes are usually elsewhere during this music but Bolle kept me focussed) Does anyone know if this comes from Pushkin?  

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1 hour ago, Geoff said:

 

Last night I saw Onegin - at least this is what it looked like to me - performing a card trick to Olga and Lensky during the family ball at the beginning of Act 2. I never noticed this before (my eyes are usually elsewhere during this music but Bolle kept me focussed) Does anyone know if this comes from Pushkin?  

 

I’ll ask my daughter, Geoff; she’s studying Pushkin this year.  I noticed Soares doing the same card trick. 

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8 minutes ago, Anna C said:

 

I’ll ask my daughter, Geoff; she’s studying Pushkin this year.  I noticed Soares doing the same card trick. 

 

Apparently it’s not in the poem - the green card tables are brought out after dinner, those who wish to partake play eight rounds of whist, changing places with each round.  Nothing specific.  Does it happen in the opera? 

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9 hours ago, Mary said:

A second very intense and moving performance from Nunez in this demanding role in one week- I am very impressed! and it was great to see her rapport with Bolle.  An excellent performance from all concerned and much applause and cheering from a happy audience- drained, but happy I should say..

That curtain call was a memorable one.

Ball and Hayward were perfect- lived up to all the good reviews on this thread and some.

And I must mention Gary Avis's wonderfully deep and subtle performance.

 

 

Oh my gosh.... what a dream dream cast!!!

I saw Nunez on Sat night & was utterly blown away. Rest of cast great too (& wonderful to see a ballet where the corps get to perform challenging with dramatic lifts choreography!)..... but if only I could’ve made this cast too as it had ALL my favourites! Is there another performance withit’s that casting does anyone know? I will beg, borrow or steal to get a ticket 😂

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45 minutes ago, Anna C said:

 

Apparently it’s not in the poem - the green card tables are brought out after dinner, those who wish to partake play eight rounds of whist, changing places with each round.  Nothing specific.  Does it happen in the opera? 

 

No, though there would be no reason why a director couldn't include it.

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11 hours ago, Jan McNulty said:

I've rotated prs59's photos for ease of viewing:

0C3B194A-7E5D-4802-9A98-B5F6CF10AEA4.jpeg.dd5670d8d7cf29a2693b11c66de5d67e.jpg.e4d517793fe6a276a41f33edfcc3818a.jpg

 

 

DB6943C6-66B0-410B-90DD-034684B465A0.jpeg.ae9b772f5a61e2297ebc993fc87e8cd3.jpg.b46bd1fb1e4e1f9e4103459be71f1bce.jpg

 

Thanks for sharing your photographs prs59.


thank you Jan, i tried but failed to rotate, technology often eludes me 

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Hmm, a dissenting voice here, but I think I preferred last week's performance.  Whether that's down to something as random as a viewing angle/position, I don't know.

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14 minutes ago, alison said:

Hmm, a dissenting voice here, but I think I preferred last week's performance.  Whether that's down to something as random as a viewing angle/position, I don't know.

I don't think it's a dissenting voice. One's opinions are influenced by so many things - your empathy with a particular performer, your state of mind/health, even if you've had a lousy journey to get to the theatre! Personally, there are some dancers I just can't seem to relate to , nothing to do with their technical ability, and your preference for one performance over another, especially in a ballet with a pretty high emotional content and four main characters is, to my mind, perfectly justified.

 

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When first Vadim Muntagirov, and then  Natalia Osipova, were replaced I was rather disappointed. But the cast we had last night with Marianela Nunez and Roberto Bolle was I thought outstanding. It is such a passionate ballet and the two leads were wonderful. This was the first ballet I ever saw, about 12 years ago, and it was the thing that opened my eyes to dance, which I'd never really been interested in. So "Onegin" is special for me - but I do also think it is special in its own right. Anyway, I was prepared to be disappointed and I was in fact blown away again. Fabulous. Aren't we lucky, in London, to have so many great dancers, musicians, theatres, conductors, producers, designers etc etc etc? I do feel very privileged.

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In my view a phenomenal performance from the whole cast last night. Seems wrong to pick out Nunez/Bolle but their chemistry and dancing was electric. I saw them do this same ballet in Milan last autumn, so was so excited to get another chance to see them - and as Roberto Bolle said on Instagram that he got to play Onegin one more time, I am assuming this was the last performance in these roles for these 2 as a partnership.  I was in Row E so had a marvellous view of their faces and emotions. Curtain calls were just so lovely.   

 

It never ceases to amaze me how uplifting ballet can be and what joy it can bring, especially sometimes when work or personal stuff are not so good.  

 

I think Marianela and Roberto surpassed even their Milan performances and as for the entire company - well the Royal Ballet are streets ahead of the production I saw in Milan - which was perfectly acceptable, I hasten to add.  

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31 minutes ago, JennyTaylor said:

In my view a phenomenal performance from the whole cast last night. Seems wrong to pick out Nunez/Bolle but their chemistry and dancing was electric. I saw them do this same ballet in Milan last autumn, so was so excited to get another chance to see them - and as Roberto Bolle said on Instagram that he got to play Onegin one more time, I am assuming this was the last performance in these roles for these 2 as a partnership.

 

FYI, they are scheduled to dance Onegin with La Scala in California this summer.

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I have been waiting very patiently to see Onegin, having seen it for the first time last night. My friend had requested to see Osipova at some point and thought this would be a perfect role to see her in. Although initially disappointed to hear she was injured/out and then to hear Reece Clarke was also unable to dance, it was a real treat to find that Marianela Nunez and Roberto Bolle would be dancing Tatiana and Onegin respectively. I have never seen Bolle dance live before and imagine I may not get the chance to see him again, so it really felt like a very special occasion. Incidentally, also saw Gary Avis post on Instagram that this season may be his last Gremin. Was wonderful to see him in a proper dancing role (vs non-dancey character roles), the partnership with Nunez worked beautifully.

 

Bolle’s Onegin was quite an obnoxious character despite oozing swoonsomeness! From his distaste at Tatiana’s intellectual book at their first meeting, to refusing her affections by ripping up her love letter, his frankly mean taunting of her and Lensky by using Olga as his plaything and for generally coming across as though he was completely entitled to be that way. Adored the first ‘love letter’ pas de deux with Nunez and even more so the heart-wrenching final pas de deux when Tatiana rejects him.

 

Nunez shone as usual, would have expected no less from her in the role and she was such a perfect fit both with Bolle and Avis. I relish every opportunity to see her as she is such an accomplished dancer and actress.

 

Matthew Ball and Francesca Hayward were a very sweet couple in love. I found the way they played the role in addition to the choreography suggests they were absolutely head over heels in love and wanted to find the same for Tatiana. How wrong a choice Onegin would have been though!  Hayward played her role very sweetly and innocently, not realising she was Onegin’s plaything in act 2. Ball’s interpretation so engaging in Act 2, first with his anger at Olga and Onegin dancing together and in his expressive pre-duel solo, followed by Olga and Tatiana trying to convince him not to fight. This is definitely a role which is made for him.

 

Looking at the bigger picture, there were a few things which really stood out for me, choreography wise. The character dancing throughout was wonderful and very well executed by the corps de ballet. In act 1, there was more of a folky feel to the steps, in act 2, the more formal and elegant mazurka. Cranko really tuned himself in to these dances and the formations he wanted to achieve so there is something incredibly classical about this element of the ballet. I loved the floor patterns and formations for the corps de ballet dances in general throughout the ballet, the way the groupings came together or were separated out, the patterns across the stage, in particular the Act 2 partnered grand jetes across the stage and there were lots of lifts which probably makes these roles more exciting for the more junior members of the cast. I also loved the way the corps de ballet was used to show the world continuing around Tatiana or Onegin when they were showing stillness and inner anguish at the different parties.

 

I loved the dramatic feel of the ballet, with the focus on exciting lifts in the Onegin/Tatiana pas des deux, very Macmillan in feel (yet completely different in so many ways…). Interesting to notice Tatiana’s act 3 dance with Gremin and ‘farewell’ before Onegin arrives is the Winter Dreams Farewell pas de deux music used by Macmillan, I wonder if he was inspired at all by Cranko with this. There were also some very Ashtonian moments in terms of the mini-character vignettes in the Act 2 ball – whether old man/quarrelling couple/man with 2 ladies who didn’t know which one to choose.

 

The set design was exquisite – was fascinated by the foliage in act 1 (would love to get a closer look at how this was designed), the lace in the ‘bedroom’ scenes, the opulence of the act 3 ballroom. There was so much detail here. Music wise, delighted to know one piece of music per act  pretty well from an age ago when I took RAD’s grade 8 ballet.

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21 hours ago, Richard LH said:

 

Wow he's busy....he only  got back from Tokyo  last week after this  http://www.royal-ballet-stars.jp/ ,  and then performed Onegin on Saturday.

Where is he performing in Japan this week? 

 

To answer my own earlier question.. I see Hirano  is in Japan for this on the 15th and 16th - Dracula!   https://www.nbaballet.org/performance/2020/horror_nights/

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7 hours ago, Anna C said:

Apparently it’s not in the poem - the green card tables are brought out after dinner, those who wish to partake play eight rounds of whist, changing places with each round.  Nothing specific.  Does it happen in the opera? 

 

Thanks for the Pushkin update Anna. No card tricks in the opera! 

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Chapter 4, Stanza X:

Though belles had lost his adoration,

he danced attendance with the best;

rebuffed, found instant consolation;

deceived, was overjoyed to rest.

He followed them without illusion,

lost them without regret's contusion,

scarcely recalled their love, their spite;

just like a casual guest who might

devote to whist an evening party,

who'd sit, and at the end of play

would say goodbye and drive away,

go off to sleep quite hale and hearty,

and in the morning wouldn't know

that self-same evening where he'd go.

 

The more you think Cranko is far from Pushkin, the more Pushkin you find in the ballet...

 

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